Copyright This work is in the public domain. Albin Egger-Lienz died in 1926; copyright lasts 70 years after the artist’s death, so it ended in 1996.
In context
The Dinner — Albin Egger-Lienz
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 58 at death.
Shaded: the lifetime of Albin Egger-Lienz (1868–1926) every dated painting, decade by decade
First works: up to 1893 Main working years: 1893–1925 Late works: from 1925
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: originaluniqueart.com/en/art/similar/albin-egger-lienz-the-dinner-9DG3SG-en/
Measured from the image
Main colour
Olive #9e6618
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 62.3% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 184 works by this artist, of which 35 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Born in Stribach, Austria
Born: January 29, 1868, in Dölsach-Stribach near Lienz, Tyrol, Austria.
Parentage: He was the natural son of Maria Trojer, a peasant girl, and Georg Egger, a church painter. He later adopted his father’s surname combined with his birthplace.
His initial artistic education came from his father, laying the foundation for his future career.
He continued his studies at the Academy in Munich, where he was profoundly influenced by artists like Franz Defregger and Jean-François Millet.
Egger-Lienz’s early works focused on scenes of peasant life and historical events, particularly the Tyrolean Rebellion of 1809.
Key Influence: The artist Ferdinand Hodler significantly impacted Egger-Lienz's style, leading to a monumental expressiveness characterized by heroic figures in stage-like spaces.
He joined the Vienna Secession in 1909, further solidifying his position within the Austrian art scene.
His artistic language evolved towards strongly outlined, massive forms painted with an almost monochromatic palette of earth colors.
Notable Paintings: Some of his most renowned works include “Der Totentanz von anno neun” (1906-1908), “Almlandschaft im Ötztal” (1911), and “Den Namenlosen” (1916).
He participated in the Universal Exhibition in Paris in 1900, receiving a bronze medal for his painting "Feldsegen."
During World War I, he served as a war painter on the southern Austrian front.
His later works often incorporated religious themes alongside scenes of peasant life, such as “Christ’s Resurrection.”
Unique Style: Egger-Lienz blended elements of Expressionism with traditional Austrian art, creating a distinctive style that set him apart from his contemporaries.
His work often explored themes of heroism, sacrifice, and the connection between humanity and nature.
He declined multiple professorships at prestigious academies, preferring to maintain artistic independence.
Lasting Impact: His paintings continue to be celebrated for their emotional power and monumental scale, representing a significant contribution to Austrian art history.
Egger-Lienz spent his final years painting frescoes for the Memorial Chapel of the Fallen in War in Lienz.
Death: He passed away on November 4, 1926, in St. Justina-Rentsch, Bozen/Bolzano, South Tyrol/Alto Adige, Italy, leaving behind a rich artistic legacy.
On show in Warsaw, Poland
The National Museum in Warsaw began its existence on 20 May 1862. At its inception, the institution operated as the Museum of Fine Arts, Warsaw. It functioned as a repository for the region's artistic developments until it was renamed the National Museum in 1916. This period of growth established the foundation for a collection that would eventually span millennia, from ancient civilizations to modern expressions.
The history of the institution is marked by profound loss. During the invasion of Poland in September 1939, the Gestapo looted the collections. This systematic theft resulted in a void that remains partially unfilled; more than 5,000 artifacts remain missing to this day. The absence of these objects serves as a quiet, persistent reminder of the upheaval that shaped the mid-twentieth century. Despite these losses, the institution continues to hold significant works, including:
Pigeon, 1948 - Pablo Picasso
Man in Golden Helmet (Mars), 1657 - Ferdinand Bol
Smokers in an Inn, 1630 - Adriaen Brouwer
Situated on Jerusalem Avenue, the museum occupies a modernist edifice that defines the architectural character of its surroundings. The structure was conceived by Tadeusz Tolwiński and emerged from a period of construction spanning from 1927 to 1938. Its presence on the edge of Na Książęcem Park provides a sense of spatial openness, allowing the building to interact with the greenery of the parkland. The design emphasizes a sense of progress, utilizing expansive windows that allow natural light to penetrate the interior galleries.
The architecture reflects the interwar golden age, characterized by soaring ceilings and a layout that prioritizes clarity and light. This modernist approach creates a specific atmosphere for the objects held within, where the physical space becomes a quiet companion to the art. The building's form is a deliberate departure from older styles, favoring the clean lines and functionalism associated with early twentieth-century modernism. It remains a significant presence in Warsaw, its walls holding the weight of history through both its construction and its survival.
The collection of ancient art comprises approximately 11,000 objects. These pieces offer a direct encounter with the aesthetics of Egypt, Greece, and Rome. The presence of these artifacts allows for a quiet study of the forms that established the foundations of Western visual language. Each object carries the weight of its own era, existing as a physical remnant of distant civilizations.
Beyond the classical Mediterranean traditions, the museum houses a dedicated department of oriental art. This department contains the largest collection of Chinese art in Poland, which includes some 5,000 objects. The scale of this assembly provides a significant perspective on Eastern artistic development and material culture. The arrangement of these works allows for a comparison between the Mediterranean and the Far East within a single institution.
The galleries dedicated to Polish painting offer a continuous narrative stretching back to the 16th century. Within these spaces, Jan Matejko’s monumental oil painting, The Battle of Grunwald, completed in 1878, commands the room. The scale of the work demands a certain stillness from those standing before it. It remains a central presence in the collection, anchoring the historical weight of the national narrative through its sheer physical and compositional gravity.
Beyond the Polish tradition, the museum houses a significant selection of foreign works that connect Warsaw to the broader currents of European art. These include paintings from Italy, France, Flanders, the Netherlands, Germany, and Russia. The presence of Rembrandt within these halls allows for a direct encounter with the Dutch Golden Age, placing Polish artistic development in dialogue with the technical achievements of Western Europe. The collection reflects a long-standing engagement with diverse stylistic movements and regional traditions.
The Battle of Grunwald, 1878 - Jan Matejko
Pigeon, 1948 - Pablo Picasso
Man in Golden Helmet (Mars), about 1657 - Ferdinand Bol
Smokers in an Inn, 1630 - Adriaen Brouwer
The Faras Gallery contains Europe's largest collection of Nubian Christian art. These pieces were recovered by Polish archaeologists from the Christian cathedral at Faras in Sudan. The presence of these works offers a specific window into the medieval kingdoms of Ethiopia, Sudan, and Eritrea, where artistic traditions emerged from the intersection of Christianity and African culture.
Illuminated manuscripts within the collection feature vivid pigments and intricate geometric patterns. These objects reflect the spiritual fervor of monastic communities that sought to preserve their faith. The gallery also houses frescoes depicting biblical scenes and portraits of saints, showing stylistic influences from both Byzantine and Arab art. At the center of this assembly, a monumental iconostasis—a gilded altar screen—embodies the solemnity of Nubian Orthodox piety.
The institution continues to adapt to the modern era through a focus on digital accessibility. The creation of Digital NMW provides a comprehensive online collection, allowing the treasures of the museum to be examined from any location. This digital presence ensures that the art remains accessible even when the physical galleries are undergoing refurbishment. Such efforts to integrate technology help maintain the museum's relevance in a changing landscape.
As of 2025, the National Museum in Warsaw is the 47th most-visited art museum in the world. This high level of engagement is sustained by ongoing updates to the presentation of its collections. The current refurbishment of galleries aims to present the works in a modern and friendly setting, ensuring that the experience of standing before these objects remains profound. The institution remains a living entity, constantly refining how it preserves and presents its vast holdings to a global audience.
originaluniqueart.com/en/art/download/albin-egger-lienz-the-dinner-9DG3SG-en/
For art students and researchers
The Dinner — Albin Egger-Lienz
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
"The Dinner" by Albin Egger-Lienz is recorded as bright, with a gentle luminance luminance.
A download is available for "The Dinner": the artwork's Download page offers a high-resolution digital image download.
"The Dinner" by Albin Egger-Lienz can be viewed as a slideshow on the artwork's Diaporama page.
The colors of "The Dinner" by Albin Egger-Lienz show a unified palette harmony. Harmony describes how the colors relate to each other.
No - the artwork is kept abroad. "The Dinner" is held in Poland, while Albin Egger-Lienz was born in Austria.